The groundbreaking bisexual artists joined forces for a performance at the first-ever NFL game in Rio de Janeiro, featuring choreography by Parris Goebel and more than 50 Brazilian dancers.
The Maracanã pitch became the stage for a meeting that transcended borders, generations and artistic languages: Pedro Sampaio and Ricky Martin joined forces for the NFL Rio Game halftime show in a performance created especially for the occasion, marked by the power of music, dance and representation. The night also marked the release of “pikito pikito,” which arrived on music platforms moments after the performance.
The show made history as the first halftime performance by a Brazilian male artist at an NFL game in Brazil. For Pedro, the moment also represents the expansion of a career built around funk, dance and pop, now translated into an international-scale production.
“This moment means so much to me because it brings together things that are part of my story: Brazilian funk, dance, pop culture and this desire to take our music further and further. Being at Maracanã alongside Ricky Martin and with such a diverse team of dancers was a way of showcasing the strength of our culture to a global audience. It is a celebration of our identity, but also of the power of music and dance to connect people from different places,” says Pedro Sampaio.
Choreography was directed by Parris Goebel, one of the leading figures in contemporary global pop dance, known for her work with artists such as Beyoncé, Rihanna and Lady Gaga, as well as major international productions including Rihanna’s Super Bowl Halftime Show. The collaboration marked the first time Goebel directed the choreography for a Brazilian artist, connecting her global language with Pedro’s artistic identity and the Brazilian scene.
“Working with Parris has always been a dream of mine. She has such a unique language and an incredible ability to turn music into movement. Bringing Brazilian funk to a production of this scale and connecting it with pop dance and ballroom culture was very special. I wanted every movement to carry our identity while also allowing the performance to speak to the world,” says Pedro.
Photo credit: NFL
To build the performance, Pedro brought together more than 50 Brazilian dancers, including members of his own dance crew and professionals who have worked with artists such as Anitta, Luísa Sonza and Ludmilla. More than 60 hours of rehearsals and original choreography went into a production that brought different expressions of Brazilian and Latin culture to the Maracanã pitch.
Dance, which has been part of different stages of Pedro’s artistic journey, took center stage in the show and became part of its narrative as a language capable of connecting different references. Funk, pop, ballroom, samba and Latin rhythms came together in a performance designed to engage both Brazilian and international audiences.
The meeting between Pedro Sampaio and Ricky Martin also carried a particular significance in terms of representation. Two bisexual male artists shared the stage at one of the world’s most high-profile sporting events, presenting their identities naturally within a spectacle built around music and dance.
The performance also brought visibility to a form of representation that remains relatively uncommon in major spaces of pop culture and sports entertainment: bisexual men occupying a highly visible stage without their sexuality being separated from their artistic journeys.
One of the highlights was the performance of “SEQUÊNCIA CUNT,” featuring eight female dancers representing Brazil’s ballroom scene through voguing — a dance language historically created and led by LGBTQIAPN+ communities. The group brought to the Maracanã stage an artistic expression associated with spaces of belonging, freedom and self-expression within the community.
Photo credit: NFL
Pedro Sampaio oversaw the musical production of the entire show, building a sonic narrative that began with Brazilian funk and moved through different territories of pop music.
Tamborzão was featured in “SEQUÊNCIA FEITICEIRA,” while electronic music took center stage in “SEQUÊNCIA CUNT.” Latin rhythms entered the performance through “PIKITO PIKITO,” an unreleased collaboration with Ricky Martin, who also performed “Livin’ La Vida Loca,” one of the biggest hits of his career and one of the songs that helped expand the presence of Latin music in the global pop market.
The performance also featured the Dallas Cowboys Cheerleaders, who joined the show during the break in “JETSKI,” bringing a traditional element of American football games into the production. Pedro and Ricky closed the performance alongside the dancers in a sequence that brought together samba and the hit “CAVALINHO.”
“I wanted to build a narrative in which funk, of course, was the common thread, but could also connect with different genres, cultures and references from global pop music. Tamborzão, electronic music, Latin rhythms and samba appear throughout the performance, but always starting from our identity. To me, that is one of the great strengths of funk: it can cross borders, connect with different audiences and take on new meanings without ceasing to be Brazilian,” says Pedro.
With “pikito pikito,” the two artists translated this meeting into music, combining references from pop, funk, reggaeton, mambo, salsa and samba. The track arrived on music platforms shortly after the performance at Maracanã.
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